Ok, so I know I have talked about emotional photography in the past. I feel so strongly about that. I used to say that I would like to be detached from what I do, so that I don't feel so worn and stressed out as I shoot. However, I have come to accept that, that stress is exactly what I need to push myself to make the best art I can, at that moment in time. I never feel more rewarded after doing something, if it has made me need to take a nap afterwards. Now, does all work need to be like that? Probably not... But for me, thats what I need. That is what gives me that emotion, which motivates me.
Now...why I am talking about this AGAIN? I found these two artists that do exactly that. They have each found a cause to work for them, and that moves them past just shooting what they see. They have allowed us to enter into emotional aspects of their lives or others. The first picture is by Marc Asnin. He has shot his uncle, who is dealing with a mental illness, and how it also has affected his children and family. The second is Lisa Lindvay. She has shot her father, and her siblings who are dealing with the loss of their mother's mentality. What can be more emotionally tolling. What makes us so afraid to shoot? What restricts us from pushing and releasing that shutter? Do we think we are disrespecting the person and situation we are shooting? Or, do we not what to have evidence that it is happening? I think these all come into play. However, I think the idea of not wanting to disrespect is an excuse sometimes. I feel like we use when we know we don't ever want to see those realities again. I think when our hands shake, we feel our heart rate go up, or we start getting sweaty palms, we are doing what is right. We are feeling for what we are shooting...
3 comments:
These photos remind me of something that I have seen here at Saint Norbert... I can't remember exactly who did them, but maybe by the end of this post I will have an idea. (the top work)
Anyways, I enjoy this post a lot. I think that we really do need to get some sort of emotional breath that impacts us as we shoot. Otherwise, what are we shooting for? Where does the art come from? If you don't have strong feelings about what you are doing - it will be difficult to truly engage in conversation about what it is that you are trying to accomplish. Not that you MUST discuss your work, but it is important to extract emotion from others (good or bad). Even if the person does not know exactly what you as the photographer went through while shooting the photographs, they are able to feel something while studying the images.
I think it was a combination of Kelly Schmidt and Pat Bier. Kelly did some shots in a bedroom like these - and Pat focused on mental illness within his family. Mostly his fear of it.
Mary,
I think this was a really thought-provoking post, especially from where I am coming from shooting both of my grandmas. I had SO many opportunities to take shots that I was too damn scared to take because I felt that it was "disrespectful" or that "I'll have another shot later." I could have taken photos of my grandma in the nursing home being lifted out of her wheelchair to be helped to go to the bathroom. It was right there in front of me, my camera was in my hand still turned on from shooting her room, and I couldn't do it. In fact I couldn't even look. I had to leave the room. It was like my mom and I had done our duty for the week - visited grandma for about an hour, and then when it got down to it - the cleaning, washing, bathing, feeding...that's when we got out and left it to the nurses. It's like she becomes a whole other person in the presence of the nursing home staff. I almost feel ashamed for not being brave enough to stick with it and just document like I told myself I would..because let's face it she wouldn't remember me taking the photo (let alone who the heck I am) in five minutes. I could take a photo of just about anything and I wouldn't have to worry about offending her. But I feel like the outsider, too, and that's what I'm hoping to conquer before this project is wrapped up at the end of the semester, though I would like to continue exploring this idea of emotions guiding our work...
Mary,
I know we have talked about this a lot. But yes, I certainly feel like I am disrespecting people when I release the shutter. This feeling is so apparent to me in the prison. Almost every time I release the shutter, I feel like I am invading the inmates' space and their privacy. I feel that way because I know that this is their home. This is their space and I am totally intruding it. But how fantastic to feel that feeling! Since I know that I am intruding on their space I feel so scared and disrespectful for even entering into it. But I would not trade that feeling, that becomes so emotional, for a second. I cannot separate myself from my work, my photography, anyway. It becomes apparent to myself that I am disengaged with my work when I don't have an emotional attachment to it. For example, it is difficult for me to feel like any of my graphic stuff is strong because it is hard for me to feel the process of it. I think that maybe, I could reach that point, but as of now, I am not attached to it in any way. I hate that feeling.
Yes, I am super uncomfortable thinking that I am disrespecting the inmates' space, but that is what I need to push me. In fact, when I don't feel this, I find myself starting to settle for what I am doing. For me, when I am uncomfortable I can achieve far more than when I am content.
This goes for all mediums. There is no one way to paint, draw, sculpt, take photos, etc. There should never be. I don't feel that this idea is strongly supported at St. NOrbert, as there has always been a push for comfort. But when I realized that I can achieve far more outside of what my comforts are, I found my passion.
How great is it that we can always learn from these feelings of discomfort?! I think it is so great!
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